Exquisite Corpse

Fifteen writers from a variety of genres contribute to an original short story.

"We’d wanted roles in this flick where there’s nothing left on earth to eat but cockroaches and babies. Verisimilitude, Francis said. To win great roles, do great stuff. We picked Trieste because the exchange rate was good. But rumors gypsies sold babies were false. So we stole one. We ate it, but got caught. I escaped; the gypsies chained him in a basement. He had to get their “queen” pregnant in six cycles. Five had passed."

Domestic Spaces

A story of rooms, philosophies, and missing words.

"We move [ ], tapping? Perhaps. Certainly an eight garbage bags’ worth spontaneous factor with a pair undetermined. I lose weight. Karen is one way to do it. Take a page. We are garden sprinklers on a hot middle and cross the middle. Formlessly in all directions, and… one two three four. Now paint on blank canvas. Section four with section one and [ ]omes. And you have a new page. Its effect is immediate, though [ ] the thing."

The Drunks

A mysterious stranger in the woods; horrific escalations.

"When we were eleven Billy Jacobs told us he had seen three people standing at the edge of the woods. One was the redheaded man–or someone who from a distance resembled the redheaded man, a sicker, thinner incarnation of him. The three held big glass bottles as they waved to Billy. One let a cigarette fall from his mouth and the others shrieked with laughter. They stumbled away and were gone."


Sex and communication in experimental fragments.

"We are in your white bed full of light drinking white wine and it is dark. I balance the base of the glass on the side of my naked hip and look at the marble spa tub in the bathroom. There is a flushed gleam bouncing off the mirror, fainting exhaling ebbing back into the room and I ghost the smoke a reprise a remorse of sighing and feeling nothing but beam."

Madeleine E (Excerpt)

An experimental story of travel, quotations, and Alfred Hitchcock's Vertigo.

"Two scenes intervene between Cypress Point and San Juan Bautista: one in Midge’s apartment, when Midge reveals her self-portrait-as-”Portrait of Carlotta” to Scottie, and, following it, a scene in Scottie’s apartment, “early dawn” the following day, when Madeleine comes to visit him to tell him about her dream. One scene attempts to conceal what it in actuality reveals, the other conceals that which it is supposed to reveal; Midge’s feelings for Scottie are clearest here, where her gesture is meant to be seen as ironic, and Madeleine’s are most calculated in the scene following it, just when she is supposed to be at her most vulnerable (“supposed to” according to her script, that is, the one written by Elster)."


An exploration of tensions and drama from an experimental master.

"...it was me like a cowgirl, swinging the cord around my head; it was the date saying, you’ve got issues; it was the date saying, serious ones; it wasn’t always like this though; it was a good time with that ID; I was a good time with that ID; I met guys and it was a good time back then; it was the ID always getting me in; it was the ID always getting me what I wanted;"